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Avoid loud and aggressive persons,
they are vexations to the spirit.
If you compare yourself with others,
you may become vain and bitter;
for always there will be greater and lesser persons than yourself.
Enjoy your achievements as well as your plans
(Max Ehrmann, 1927)
Last week marked International Poetry Day (21 March 2019, to be precise) and it seems only right to consider this form of narrative in more detail. When I was younger (so much younger than today)[i] poetry left me rather cold. Why read short, seemingly impenetrable bursts of language when you could read whole books? To me, it seemed as if poetry was simply lyrics that no-one had got around to putting music to.[ii] Looking back, this may have been the folly of youth, alternatively, I simply was unable at that time to see the value, the beauty of poetry, both written and spoken.
Poetry isn’t meant to be consumed whole, like fast food to be gobbled in between anything and everything else, fuel to get you through the day. Neither is it like googling facts, just enough to enable you to know what you need to know at that instant. Instead, it’s meant to be savoured, to stay with you; like many good things in life, it takes time to ponder and digest. In turn, it takes on its own distinct and entirely personal meaning. It offers the opportunity for all of us, individually, to reflect, ruminate and interpret, at our own pace, according to our own place in time and space. The extract which opens this entry comes from Desiderata which carries particular resonance for me and my academic journey. It may or may not do the same for you, but it’s worth having a look at the entirety of the text, just in case.
An obvious criminological place to start to explore poetry, was always a favourite. Long before I discovered criminology, I discovered the work of Oscar Wilde (1854-1900). Starting with his novels, it wasn’t long before I stumbled upon his Ballad of Reading Gaol. With its haunting refrain; ‘each man kills the thing he loves’ it is difficult not to captured by its innate melody, as well as the story of the murderous soldier. After studying criminology and spending time in prison (albeit not serving a sentence), the verses take on a different dimension. It is difficult not to be moved by his description of the horror of the prison, even more so, given his practical experience of surviving in this hostile and unforgiving environment:
With sudden shock the prison-clock
Smote on the shivering air,
And from all the gaol rose up a wail
Of impotent despair,
Like the sound that frightened marshes hear
From a leper in his lair
(Oscar Wilde, 1898)
On the surface, poets like the Greek, civil servant C. P. Cavafy (1863-1933) have nothing to say about my life, yet his words make my heart ache. Cavafy’s tale of a mystical and mythical journey to Ithaka which seems to me to represent my educational journey in ways that I am only just beginning to appreciate. Replace the mythical Ithaka, with my all too real experience of doctoral study and you get the picture.
Keep Ithaka always in your mind.
Arriving there is what you’re destined for.
But don’t hurry the journey at all.
Better if it lasts for years,
so you’re old by the time you reach the island,
wealthy with all you’ve gained on the way,
not expecting Ithaka to make you rich
(C. P Cavafy, 1910/1911)
Furthermore, The Satrapy appears to represent ambition, desire and above all, the necessity of educating oneself in order to become something more. To truly realise your humanity and not just your mere existence, is a constant struggle. Cavafy’s words offer encouragement and a recognition that individual struggle is a necessity for independence of thought.
Your soul seeks other things, weeps for other things;
the praise of the public and the Sophists,
the hard-won and inestimable Well Done;
the Agora, the Theater, and the Laurels
(C. P. Cavafy, 1911)
Poets like Maya Angelou celebrate gender and race (among many other aspects), identifying intersectionality and the struggles fought and won, and the struggles still ongoing. Despite historical and contemporaneous injustice, to be able to shout from the rooftops Still I Rise in answer to the questions she poses, is truly inspirational:
Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?
(Maya Angelou, 1978)
Likewise, Hollie McNish utilises her anger and frustration to powerful effect, targeting racism with the linguistic gymnastics and logic of Mathematics , demonstrating that immigration is one of the greatest things to happen in the UK. To really get the full force, you should watch the video!
Cos sometimes one that comes makes two
And sometimes one can add three more
And sometimes two times two is much much more
And most times immigrants bring more
(Hollie McNish, 2013).
To conclude, you have nothing to lose by immersing yourself in a bit of poetry, but everything to gain. The poets and poems above are just some of my favourites (what about Akala, Cooper Clarke, McGough, Plath, Tempest, Zephaniah, the list goes on) they may not be yours, but it doesn’t matter. Don’t rush it, read a little something and read it again. Let the words and imagery play around in your head. If it sings to you, try to remember the name and the poet, and you can return again and again. If it doesn’t sing to you, don’t lose hope, choose another poet and give their work a chance to inveigle its way into your life. I promise you, it will be worth it
Angelou, Maya, (1978/1999), And Still I Rise, (8th ed.), (London: Virago Press)
Cavafy, C. P., (2010), Collected Poems, tr. from the Greek by Daniel Mendelsohn, (New York: Alfred A. Knopf)
Lennon, John and McCartney, Paul, (1965) Help!, [CD], Recorded by The Beatles in Help!. Parlophone, [s.l.], Apple
Wilde, Oscar, (1898), The Ballad of Reading Gaol by C. 3. 3., (London: Leonard Smithers)
[i] Lennon and McCartney, (1965).
[ii] Not always the case, as can be seen by the Arctic Monkey’s (2013) musical rendering of John Cooper Clarke’s I Wanna Be Yours
In a number of blog posts colleagues and myself (New Beginnings, Modern University or New University? Waterside: What an exciting time to be a student, Park Life, The ever rolling stream rolls on), we talked about the move to a new campus and the pedagogies it will develop for staff and students. Despite being in one of the newest campuses in the country, we also deliver some of our course content in the Sessions House. This is one of the oldest and most historic buildings in town. Sometimes with students we leave the modern to take a plunge in history in a matter of hours. Traditionally the court has been used in education primarily for mooting in the study of law or for reenactment for humanities. On this occasion, criminology occupies the space for learning enhancement that shall go beyond these roles.
The Sessions House is the old court in the centre of Northampton, built 1676 following the great fire of Northampton in 1675. The building was the seat of justice for the town, where the public heard unspeakable crimes from matricide to witchcraft. Justice in the 17th century appear as a drama to be played in public, where all could hear the details of those wicked people, to be judged. Once condemned, their execution at the gallows at the back of the court completed the spectacle of justice. In criminology discourse, at the time this building was founded, Locke was writing about toleration and the constrains of earthy judges. The building for the town became the embodiment of justice and the representation of fairness. How can criminology not be part of this legacy?
There were some of the reasons why we have made this connection with the past but sometimes these connections may not be so apparent or clear. It was in one of those sessions that I began to think of the importance of what we do. This is not just a space; it is a connection to the past that contains part of the history of what we now recognise as criminology. The witch trials of Northampton, among other lessons they can demonstrate, show a society suspicious of those women who are visible. Something that four centuries after we still struggle with, if we were to observe for example the #metoo movement. Furthermore, from the historic trials on those who murdered their partners we can now gain a new understanding, in a room full of students, instead of judges debating the merits of punishment and the boundaries of sentencing.
These are some of the reasons that will take this historic building forward and project it forward reclaiming it for what it was intended to be. A courthouse is a place of arbitration and debate. In the world of pedagogy knowledge is constant and ever evolving but knowing one’s roots allows the exploration of the subject to be anchored in a way that one can identify how debates and issues evolve in the discipline. Academic work can be solitary work, long hours of reading and assignment preparation, but it can also be demonstrative. In this case we a group (or maybe a gang) of criminologists explore how justice and penal policy changes so sitting at the green leather seats of courtroom, whilst tapping notes on a tablet. We are delighted to reclaim this space so that the criminologists of the future to figure out many ethical dilemmas some of whom once may have occupied the mind of the bench and formed legal precedent. History has a lot to teach us and we can project this into the future as new theoretical conventions are to emerge.
Locke J, (1689), A letter Concerning Toleration, assessed 01/11/18 https://en.wikisource.org/wiki/A_Letter_Concerning_Toleration
Haley Read is an Associate Lecturer teaching modules in the first and third years.
Yes, that spooky time of the year is upon us! Excited at the prospect of being free to do something at Halloween but deterred by the considerable amount of effort required to create an average-looking carved pumpkin face, I Google, ‘Things to do for Halloween in the Midlands’.
I find that ‘prison (and cell) ghost tours’ are being advertised for tourists who can spend the night where (in)famous offenders once resided and the ‘condemned souls’ of unusual and dangerous inmates still ‘haunt’ the prison walls today. I do a bit more searching and find that more reputable prison museums are also advertising similar events, which promise a ‘fun’ and ‘action packed’ family days out where gift shops and restaurants are available for all to enjoy.
Of course, the lives of inmates who suffered from harsh and brutal prison regimes are commodified in all prison museums, and not just at Halloween related events. What appears concerning is that these commercial and profit-based events seem to attract visitors through promotional techniques which promise to entertain, reinforce common sensical, and at times fabricated (see Barton and Brown, 2015 for examples) understandings of history, crime and punishment. These also present sensationalistic a-political accounts of the past in order to appeal to popular fascinations with prison-related gore and horror; all of which aim to attract customers.
The fascination with attending places of punishment is nothing new. Barton and Brown (2015) illustrates this with historical accounts of visitors engaging in the theatrics of public executions and of others who would visit punishment-based institutions out of curiosity or to amuse themselves. And I suppose modern commercial prison tourism could be viewed as an updated way to satisfy morbid curiosities surrounding punishment and the prison.
The reason that this concerns me is that despite having the potential to educate others and challenge prison stereotypes that are reinforced through the media and True Crime books, commercialised prison events aim to entertain as well as inform. This then has the danger of cementing popular and at times fictional views on the prison that could be seen as being historically inaccurate. Barton and Brown (2015) exemplify this idea by noting that prison museums present inmates as being unusual, harsh historical punishments as being necessary and the contemporary prison system as being progressive and less punitive. However, opposing views suggest that offenders are more ordinary than unusual, that historical punishments are brutal rather than necessary and that many contemporary prisons are viewed as being newer versions of punitive discipline rather than progressive.
Perhaps it could be that presenting a simplified, uncritical and stereotyped version of the past as entertainment prevents prison tourists from understanding the true pains experienced by those who have been incarcerated within the prison (see Barton and Brown, 2015, Sim, 2009). Truer prison museum promotions could inform visitors of staff corruption, the detrimental social and psychological effects of the prison, and that inmates (throughout history) are more likely to be those who are poor, disempowered, previously victimised and at risk of violence and self-harm upon entering prison. But perhaps this would attract less visitors/profit…And so for another year I will stick to carving pumpkins.
Photo by Markus Spiske temporausch.com on Pexels.com
Barton, A and Brown, A. (2015) Show me the Prison! The Development of Prison Tourism in the UK. Crime Media and Culture. 11(3), pp.237-258. Doi: 10.1177/1741659015592455.
Sim, J. (2009) Punishment and Prisons: Power and the Carceral State. London: Sage.